“Andor” is the best live-action “Star Wars” show Disney has produced to date. Although the other shows have contributed to the Star Wars canon, “Andor” takes the franchise to new places.
“Andor” takes place five years before “Rogue One” and follows Cassian Andor, a friendly thug who often gets into trouble. The show opens with Andor searching for his lost sister, only to end up killing two peacekeepers.
The domino effect resulting from Andor’s actions inspires the plot going forward, as storylines grow from this one violent moment. The show explores how a single event creates repercussions across the galaxy, similar to historical events.
Tony Gilroy, the showrunner, explained that the inspiration for “Andor” is a pastiche of the story. It is not a singular event, moment or figure but a story that defines the show. The result is an interwoven tale of vindictive bureaucrats, conspiratorial politicians, and rebels who feel current.
The show’s musical choices are a mix of orchestra and electronics, blending the sweeping epic of John Williams with the ethereal music of Kavinsky, creating a tone for the “Star Wars” show that is dark and energetic. Additionally, the tracks often repeat and remix over the course of the series.
The element that really stands out in “Andor” is the editing. Balancing multiple stories across multiple different planets is often difficult because it takes balance in each story to convey meaning.
The showrunners have achieved a concise format not only to build characters, but also to lay the groundwork for their connections through a braided format. Nowhere is this more apparent than in the first arc (episodes one through three) of the series.
The arc is punctuated by the “Past/Present Suite” as the show cuts between Andor’s time on Kenari in the past and Ferrix’s in the present. Actions on Kenari paralleled Ferris, slowly coming together over the course of three episodes.
At the end of the third episode, the cuts occur every 30 seconds until the last cut moments between Andor’s departure from Kenari and his departure from Ferrix. The action is superimposed on itself so that a dialogue is formed through the two periods.
The scene works to show the way the narrative is layered, that past and present do not exist as points but as aspects of ourselves. The narrative uses the device to frame how there is not so much a dichotomy, but a personal perception.
The show slowly unpacks these ideas through footage from George Lucas’ “Star Wars” films. It draws particular inspiration from samurai and war movies while blending into Gilroy’s interest in morally gray characters to make for an equally epic and human tale.
The result is a show that transcends the boundaries of being a “Star Wars” prequel and series to being a unique narrative. The story stands out in a medium bogged down by revivals and spin-offs. It’s a story of hope, making it a must-have for any sci-fi fan.
Benjamin Ervin is studying English Literature and Writing at Ohio University. Please note that the views and opinions of the columnists do not reflect those of The post office. Want to talk more about it? Let Benjamin know by emailing him at [email protected]